A genuine triumph, a great movie with astounding performances so natural, so genuine, that you forget it's a movie.

It's one of the best movies of the year, one of the best entries ever in the Way We Live Now oeuvre.

50/50 is a tremendous movie. It's also a really funny one, which doesn't mean it won't make you cry.

It is particularly rewarding to see Clooney outside his comfort zone of self-composed cool in The Descendants, Alexander Payne's beautifully gentle, funny and moving film.

The Artist is such an engaging, delightful film that, if you like movies, you will walk out of the theater with a smile. You just will; it's that inspired.

A great movie, a look inside a world so foreign that it might as well be another planet, yet so universal that its observations are painfully familiar to anyone, anywhere.

Simply put, Argo is why we go to movies.

Wreck-It Ralph is smart, funny, sweet and sassy. And that's just Sarah Silverman's character... The movie is a treat for kids and the parents they drag to see it. Or maybe it'll be the other way around. Either way. It doesn't matter how you get to it. Just get there.

A great movie, an astonishing achievement on nearly every level.

Toy Story 3 is very much a worthy entry in the series, a movie well worth making (and seeing). It continues the legacy. It just doesn't expand upon it.

A perverse delight, the rare film that makes you feel good about feeling bad (or at least watching others do so).

A sparkling documentary in which we can't trust that anything in it is true. And yet you would never call it a hoax.

The Secret in Their Eyes never lets you forget that you're watching a movie - and never lets you wish you were doing anything else.

Please Give is an almost perfectly rendered slice of life, buoyant with wonderful performances.

This is a challenging, brilliantly constructed film that, despite its patience and quiet tone, is engrossing from its first moments, especially an opening scene that encapsulates Jandal's poignant contradictions.

It's Douglas' movie - and you've got a fine movie.

Like its stars, the film's not particularly flashy, it's just good, and it's hard to find fault in that.

The naturalistic style Michod employs adds to the sense of dread.

Watching the film, emotions range from sadness, of course, to frustration to outright anger.

This is the kind of movie about teenagers that an adult audience should embrace. It's simply that good, and Stone is nothing short of wonderful.

In theory, we go to movies for enjoyment. Director Rodrigo Cortés inverts that notion with Buried, a terrific, claustrophobic, fist-clenching film in which he tortures his audience in exquisite fashion.

As in a Le Carré novel, we're given long doses of the private lives of the protagonists, and we learn their secrets, their insecurities and the toll taken by the necessity of constant lying.

It's a measure of how good a film Nowhere Boy is that it would be compelling even if it were the story of the formative years of a boy named Joe Brown.

Scarier than anything you'll find in a horror movie this time of year.

To say that the film is uncomfortable to watch is an understatement. It's searing. Yet it's also invaluable.

It's all or nothing with Black Swan. Either you embrace its headlong descent into madness brought on by the pressures of artistic perfection, compounded by smothering anxiety, or you reject it. It's that simple.

And now with Tangled, a delightfully fresh spin on "Rapunzel," the entertainment powerhouse delivers its first classic-caliber computer animation outside the Pixar family.

127 Hours is based on Ralston's memoir, and it's a really good movie because director Danny Boyle is a genius.